This movie plays mind games with you in the same way the main characters play mind games with each other. Everything about this gets ingrained into your mind, as you're forced to pay attention to every single detail, hoping in some way an answer will be revealed, only to discover that you're just shrieking into an empty void where no answers can be found.

Because they're hidden right in front of you.

That's what's truly terrifying about "The Killing of a Sacred Deer" (a title that gets the more disturbed the more you think about it after the final cut to black before credits); it's playing the ultimate game against the viewer by telling its entire narrative directly when you'd…

"bob, something terrible happened yesterday. i lost the mp3 player that martin gave me. i don't know what's wrong with me. i've lost two mp3 players in the last ten days. so i'd like to ask you a favor: can i have your mp3 player when you're dead?"

this is yorgos' world and we're just living in it, terrified of what the fuck could possibly happen next

The most reflexive knock against the mordantly debased films of Yorgos Lanthimos is that they don’t seem to make any sense. If that criticism holds any water, it’s only because sense is the very thing that all of Lanthimos’ characters are trying to make for themselves — his movies can’t afford to manufacture it for them.

That has always been the case for the singular Greek auteur, whose body of work is distinguished by a hilariously masochistic flair for deadpan debauchery, but whose stories are more fundamentally bound by their shared obsession with striking a harmony of some kind between logic and emotion. Not even “Star Trek” is so preoccupied with finding that equilibrium.

This movie has an incredibly tense atmosphere built through the stunning score and cinematography. But for me, the movie starts to fall apart around halfway through, when logic gets thrown out the window.

We're supposed to believe no one in the world is going to react to what is happening to this family? No one finds out Colin Farrell shot his kid in the chest? Also, what happened with Alicia Silverstone's character? Isn't she looking for her son, who is missing and shows up days later with signs of torture?

I guess all the characters represent symbols and metaphors and stuff so it doesn't matter, but that feels like a cop-out. The world of the movie presents us with real people, who might ask questions. The lack of logic frustrated me. But its still very impressive work of a true craftsman.

As someone who completely loathed The Lobster I am as shocked as anyone to find that I liked this. I think this one may even grow on me more.

Super cinematic. The song "Burn" is oddly stuck in my head. I think every adult has wanted to punch a 16 year old dude that hard. Super great use of sound and music. Almost Kubrickian in terms of composition at times.